In Conversation with Warren Ferreira, TinToy Films Executive Producer

Executive Producer, Warren Ferreira

In this candid interview, Warren reflects on the challenges, milestones, and guiding principles that have shaped TinToy Films into the company it is today.

Q: You started in business before moving into film; did that background give you any kind of edge, or did the real learning begin once you were in the thick of it?

A: Yes, I studied business administration, but almost all of my friends studied film and went to AFDA. I think there were only two or three of us who took a different route. We all graduated together and then ended up in the same place, struggling to break into our industries.

My ex-business partner had been doing many shoots and saw the potential to build something from it. He asked if I wanted to come on board and run the business side. At the time, I was interning as a copywriter at an ad agency with no long-term commitments, so I thought, "Why not?" Thirteen years later, here we are.

So, while it might seem like a big switch, it really was not. I had always envisioned a career in advertising or marketing, so this just turned out to be a different way of getting there. And I had always been connected to the industry through my friends, so it felt familiar even then.

In terms of whether my business background helped, not really, at least not in any obvious way at first. We were young and naïve and thought we could walk straight in and start directing TV commercials. We were rapidly humbled and had to work our way up.

That said, I do think a business degree leaves you with certain ways of thinking. Even if I did not apply what I learned in a direct or conscious way, it probably shaped how I approach problems: things like strategy and structure. But really, the biggest lessons came from being thrown in the deep end. This industry is all about learning by doing. That is where the real education happens.

Q: What did TinToy’s first TVC signify for the company’s growth?

A: When we finally started getting bigger briefs that aligned with actual TV commercials, it was a huge moment. As a company we did not follow a traditional production company route, and we did not have those networks or experience. We were figuring everything out from scratch in an industry that can be very closed off. So getting that first TVC felt like breaking through a wall.

It was more than just a job. It was a kind of validation. It showed us that the path we had chosen, unconventional as it was, could still lead somewhere. That was massively motivating.

Q: Every filmmaker dreams of a breakthrough moment, so what was it like when Good Mourning took you all the way to the Sundance Film Festival in London?

A: In 2017, we shot a short film called Good Mourning, a passion project by my business partner and director, Ian Morgan. Like many in the industry, we had that dream project we wanted to create, and after a good year, we had just enough space and budget to do it.Once we finished the film, we entered it into festivals, and it performed really well, winning a few awards and getting into a number of line-ups. One of those submissions was the Sundance Short Film Festival in London. We sent it in on a whim, not expecting anything, and a few weeks later, we got an email saying we had won Best South African Short Film.They flew us to London, and Ian and I spent about a week there. The screening was on a rooftop in Piccadilly, and the response was overwhelming. People came up to us after the film; we did interviews, there was strong press coverage, and we made connections with AMC, who own Sundance.

It was one of those surreal, once-in-a-lifetime moments. You pour so much time, money, and effort into a short film, not knowing if even your friends will watch it. So to have that kind of reception, it really felt like validation. It reminded us that the work we put in mattered.

Q: Few people can say they have worked with Idris Elba. What was that experience like, and did it live up to the hype?A: Working with Idris Elba is definitely one of my career highlights, not because of his celebrity status but because of who he is as a person. It was a very different kind of job for us and stood out for that reason.

At the time, Idris was in South Africa filming The Dark Tower, and he wanted to shoot a music video while he was here. We were introduced through someone in the advertising world. I still remember how surreal it felt. We had to be discreet, so we met at the very back of Woodlands Eatery in Vredehoek, away from the usual spots like Camps Bay or Kloof Street. He sat with his back to the room and walked us through the concept.

The TinToy Team, alongside Idris Elba

What really stuck with me was his humility. Despite being who he is, he never leaned into the celebrity thing. On the shoot day, we had a small crew, maybe 20 to 25 people, and he made a point of learning everyone’s name and used them. It was a low-budget project, so we had to reset and sweep the floors ourselves between takes. He helped with that, too. No ego, just part of the team.

The last seven years have felt like the ones that really counted. That is when we started understanding what we were doing.

Q: After 13 years, what do you believe has been the driving force behind TinToy’s continued growth and success?

A: TinToy started as just an idea with no capital, only an iMac and a Canon 5D Mark II. We built things up slowly, piece by piece. Today, we have nine full-time staff and scale up with bigger crews when needed. Looking back, we made a lot of mistakes early on simply because we did not know any better, but the last seven years have felt like the ones that really counted. That is when we started understanding what we were doing.

The industry is fast-paced and full of gatekeeping, and breaking through is never easy. There are still agencies that feel out of reach. But year after year, we keep going, and more importantly, we keep growing. Financially, we have strengthened, even bouncing back from tough moments like COVID.

What really sustains TinToy is the team. We have built a strong, close-knit group who are all aligned on the company’s vision. There is very little staff turnover, and people genuinely enjoy working here. We share a culture of collaboration, resilience, and mutual support. This industry is filled with setbacks and jobs you pour yourself into and do not land, but we lean on each other. There is no blame game. If someone makes a mistake, it is a shared one, and we fix it together. That is what keeps us going.

We did not just start a production company; we also started a post house. That flexibility gave us an edge and helped us grow.

Q: What is a lesser-known part of TinToy’s story that you think people often overlook?

A: Yes, actually, something that often gets missed when people talk about our journey is how we started. TinToy took a slightly different route than most production companies, and that shaped who we are today.

We always wanted to focus on commercials and follow that traditional structure: producers, directors, and then outsourcing everything else. But we could not afford to do that in the beginning. We had to start from scratch. That meant doing everything from events to documentaries just to get a foot in the door.

Our competitive edge came from building an in-house post-production facility early on. It allowed us to keep costs down, control quality, and walk away with better margins. It is something people do not always realise; we did not just start a production company; we also started a post house. And although they work very closely together, they are also able to operate independently.

Sometimes we will shoot a project and then outsource the post if another team is better suited for the style. Other times, we will handle posts on projects shot by other companies. That flexibility gave us an edge and helped us grow. It also meant that, even when the production side is quiet, we have consistent post work coming in to help cover overheads.We might not win the Loeries every year, and we are not always in the spotlight, but that post-production foundation has allowed us to scale sustainably. It got us to the point where, after our rebrand a couple of years ago, we are now fully focused on a director-led model, like the more traditional production companies we originally aspired to be.So yes, I think that is an important part of our story, and I am proud of how we built it.

Warren and the TinToy Team flying out to Botswana.

Warren working alongside our TinToy clients.

Warren on set at TinToy Production.

Q: What is your key advice for someone thinking about starting their own production company?

A: My strongest advice (though I did not follow it myself) is to gain experience first. The market is much more saturated now, and while starting with little experience is possible, it is very difficult. Working at an existing production company helps you learn the ropes, build contacts, and understand the industry before launching your own business.Also, prepare for volatility. This industry is unpredictable. Momentum matters; one job can lead to another, but quiet periods happen too, which can be demoralising. Stay mentally prepared for ups and downs, avoid overconfidence during good times, and always keep a safety net for quieter phases.

Q: Running a company often means juggling creativity with operations; how do you manage that balance, and which side of the job do you find yourself drawn to more?

A: Balancing both has been one of the biggest challenges. I have always seen myself as a producer first, but as TinToy has grown, I have had to focus more on managing the business. That meant stepping back from hands-on producing and trusting colleagues to take the lead. I still keep a high-level view of all our projects, but I have had to let go of some of the day-to-day involvement.

The part I enjoy most is pitching and winning new work. I love receiving a brief and figuring out how to creatively and practically execute it. The toughest part is the initial outreach to potential new clients before any brief exists. That has never come naturally to me, but I know how important it is, and I am working on getting better at it.

Q: What principles guide your leadership at TinToy, and which values do you consider absolutely non-negotiable?

A: Our core philosophy is simple: we are here to help clients solve problems, not add to them. We always ask, "How can we make this easier and better for them?" Whether it means being efficient, acting as a sounding board, or offering creative solutions, that mindset guides everything we do.

Clear communication and transparency are a big one for us. We treat every job, no matter how big or small, like it is the most important, which helps keep things consistent and keeps the pride in the work. This is a super subjective industry, and there are always going to be different opinions. When stuff goes wrong (and it does), we rely on a culture of shared responsibility. No blame. We fix things together, and that has built real resilience in the team. Everyone has to give each job their full attention and energy and there is just no space for complacency.I expect a can-do, solution-driven mindset. Production is unpredictable, so when things get intense, the entire team pulls together.

We do not operate a blame culture. Mistakes happen, but we take collective ownership, focus on fixing issues, and learn from them. This attitude makes us stronger.

Q: In an alternate universe where TinToy never existed, what path do you think your career would have taken?

A: That is a great question. I always envisioned a career in advertising. I wish I had a more exciting answer.

Q: Outside of work, what brings you joy or helps you reset these days?

A: Well, I’ve got twin boys who are two and a half; many hobbies are on pause, but this is an incredible life chapter. Running remains my outlet, one or two short runs per week. It clears my mind and helps me reset when stressed. I also value friendships outside our industry, as they offer fresh perspectives. I enjoy reading, though time is limited. I play PlayStation. Finally, I am a big sports fan: football, Formula One, and cricket, and still play football socially when I can.

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